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GRAMMYs

Cheap Trick perform at the GRAMMY Museum

Photo: Mark Sullivan/WireImage.com

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cheap-trick-grammy-museum

Cheap Trick At The GRAMMY Museum

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Pop/rock band explain the origin of their name and reflect on the 35th anniversary of their classic album, Cheap Trick At Budokan
THE GRAMMYs
GRAMMYs
Dec 2, 2014 - 4:06 pm

Cheap Trick: 35th Anniversary Of Cheap Trick At Budokan

Cheap Trick: Origin Of Band Name

Cheap Trick Perform "Dream Police"

Cheap Trick Perform "I Want You To Want Me"

Cheap Trick Perform "Surrender"

Iconic pop/rock band Cheap Trick recently participated in an installment of the GRAMMY Museum's An Evening With series. Before an intimate audience at the Museum's Clive Davis Theater, the quartet discussed the origin of their band name and reflected on the 35th anniversary of their classic live album, Cheap Trick At Budokan, among other topics. Cheap Trick also performed a collection of hits, including "Surrender," "I Want You To Want Me" and "Dream Police."

"When we did 'Ain't That A Shame' one night a girl jumped off the balcony onto the stage and ran up and grabbed me … so the guitar solo was not in there," said lead guitarist Rick Nielsen, reflecting on the recording of Cheap Trick At Budokan. "I remember that because I think she broke her leg, too. It was kind of cool."

Cheap Trick — currently comprising Daxx Nielsen (drums), Rick Nielsen, Tom Petersson (bass), and Robin Zander (vocals) —formed in the early '70s in Rockford, Ill., by Rick Nielsen and Petersson. In 1977 Cheap Trick released their self-titled debut album and In Color, the latter of which cracked the Top 75 on the Billboard 200. They followed with two studio platinum albums, Heaven Tonight (1978, No. 48) and Dream Police (1979, No. 6).

In April 1978 Cheap Trick performed two shows at Nippon Budokan in Tokyo. Recordings from the shows were released as the album Cheap Trick At Budokan, which peaked at No. 4 (their highest charting album to date) and ranked No. 426 on Rolling Stone's 500 Greatest Albums Of All Time. Cheap Trick subsequently released a string of hit albums, including 1980's All Shook Up (No. 24), 1985's Standing On The Edge (No. 35) and 1988's Lap Of Luxury (No. 16), which featured the No. 1 hit "The Flame." The group's most recent studio album, The Latest, was released in 2009.

In September 2013 the GRAMMY Museum launched Cheap Trick: I Want You To Want Me! — a one-of-a-kind exhibit offering visitors an in-depth look at the band's career. The exhibit is on display at the Museum through August. Cheap Trick are currently in the midst of a North American tour, with dates scheduled through August.

Upcoming GRAMMY Museum events include The Drop: La Santa Cecilia (March 5), An Evening With John Németh And The Bo-Keys (March 17), Being Dionne Warwick (March 19), and Spotlight: Jon Batiste And Stay Human (March 24). 

GRAMMYs

Cheap Trick's Robin Zander

Photo: Scott Legato/Getty Images

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GRAMMY Museum To Launch Cheap Trick: I Want You To Want Me! Sept. 12

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Exhibit to feature artifacts from the private collection of the iconic power-pop band
Crystal Larsen
GRAMMYs
Dec 2, 2014 - 4:06 pm

On Sept. 12 the GRAMMY Museum will launch Cheap Trick: I Want You To Want Me! — a one-of-a-kind exhibit offering visitors an in-depth look at the more than 35-year career of power-pop progenitors Cheap Trick.

Located in the Museum's Mike Curb Gallery on the fourth floor, artifacts on display will include guitars played by Rick Nielsen, including his 1952 Fender Telecaster used during a performance at Budokan in Tokyo; costumes worn on the album cover of 1979's Dream Police; and original lyrics, photographs, and tour ephemera, among other items.

In conjunction with the launch of the exhibit, on Sept. 12 Cheap Trick will visit the GRAMMY Museum's Clive Davis Theater to participate in a question-and-answer session and perform a brief set as part of the Museum's An Evening With series.

Cheap Trick: I Want You To Want Me! will be on display through June 2014.

Tom Petersson (L) and Robin Zander (R) of Cheap Trick

Tom Petersson (L) and Robin Zander (R) of Cheap Trick

Photo: Mark Sullivan/WireImage

News
GRAMMY Museum January 2021: Cheap Trick & More grammy-museum-january-2021-schedule-cheap-trick-black-pumas-haim-and-more

GRAMMY Museum January 2021 Schedule: Cheap Trick, Black Pumas, HAIM And More

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The GRAMMY Museum kicks off 2021 with new programs released on COLLECTION:live, including a Verve Label Group takeover, programs with 2021 GRAMMY nominees and a Cheap Trick digital exhibit
GRAMMY Museum
Jan 8, 2021 - 7:28 pm

New year, new GRAMMY Museum goodies!

The GRAMMY Museum has announced its programming schedule for January 2021, which includes new and never-before-released digital content as well as interviews with and performances by some of the 2021 GRAMMY nominees including Best New Artist nominees Phoebe Bridgers and Ingrid Andress, HAIM, Black Pumas, Tame Impala and more.

It'll all be added to COLLECTION:live, the Museum's official online streaming service featuring an artfully curated collection of newly produced artist interviews, performances and livestreams, as well as special releases from the GRAMMY Museum archive.

This month's programming includes a panel featuring seven-time GRAMMY winner Alanis Morissette alongside members of the cast and creative team of the 15-time Tony Award-nominated Broadway musical, "Jagged Little Pill," which is nominated for Best Musical Theater Album at the 2021 GRAMMYs. 

Elsewhere, the GRAMMY Museum is hosting a panel discussion about the making of the song "Collide" from Queen & Slim: The Soundtrack. The panel will include Motown Records President Ethiopia Habtemariam, Motown Records VP of A&R Lindsey Lanier, and the artists, songwriters, and producers of "Collide," including Tiana Major9, EARTHGANG's Olu, Benny Cassette, Kaveh Rastegar, Stacy Barthe, and Fresh. Released as the first single from Queen & Slim: The Soundtrack, "Collide" is currently nominated for Best R&B Song at the 2021 GRAMMYs.

This Friday (Jan. 8), the GRAMMY Museum will launch a digital version of its "Cheap Trick: I Want You To Want Me" exhibit. Originally opened in September 2013, the exhibit celebrates iconic rockers Cheap Trick, who continue to reign as power pop progenitors with a musical legacy spanning more than 40 years.

The Spotlight Saturdays Series continues with a takeover by Verve Label Group featuring Ezinma (Jan. 9), Max Richter (Jan. 16), Madison Cunningham (Jan. 23) and Shabaka Hutchings (Jan. 30).

See below for the GRAMMY Museum's full January 2021 schedule on COLLECTION:live featuring interviews and/or performances by:

COLLECTION:LIVE SCHEDULE

Spotlight Saturdays Series Takeover By Verve Label Group

1/9 – Ezinma

1/16 – Max Richter

1/23 – Madison Cunningham

1/30 – Shabaka Hutchings

Programs With GRAMMY® 2021 Nominees Available To Stream

Ingrid Andress

Burt Bacharach & Daniel Tashian

Phoebe Bridgers

Black Pumas

Brandy Clark

The Making of "Collide" Panel Discussion

Luke Dick

Gregory Porter

Haim

Jagged Little Pill on Broadway

Sarah Jarosz & John Leventhal

Bettye LaVette w/ Producer Steve Jordan

Tiana Major9

Ashley McBryde

PJ Morton

Poncho Sanchez

JP Saxe

Secret Sisters

Steep Canyon Rangers 

Tame Impala

Toots & The Maytals

Rufus Wainwright

Lucinda Williams

DIGITAL EXHIBIT

1/8 – Cheap Trick: I Want You to Want Me (Archived Public Program will also be available on COLLECTION:live)

The GRAMMY Museum in Los Angeles remains closed until further notice in light of the COVID-19 pandemic. The Museum's Public Programs digital series features new intimate sit-down interviews with artists and musicians recorded via digital conferencing.

The Museum continues to release digital educational content and lesson plans as part of the GRAMMY In The Schools Knowledge Bank, continuing its mission of paying tribute to our musical heritage and bringing our community together through music. 

COLLECTION:live, the GRAMMY Museum's new official online streaming service, is available for $2.99/month or $29.99/year. GRAMMY Museum members receive 50 percent off the annual subscription price. Proceeds benefit the Museum's music education initiatives and help keep the Museum's mission alive while the physical location remains closed due to COVID-19. The Museum's popular Public Programs series has been recorded over the last decade from the Clive Davis Theater in Los Angeles and has since surpassed the 1,000-program mark since the Museum opened 12 years ago. Proceeds benefit the Museum's music education initiatives.

GRAMMY Museum At Home is made possible with generous support from the Hoesterey Family Charitable Foundation and Brian and Adria Sheth. New programming will be released each month.

Billie Eilish & FINNEAS To Appear On GRAMMY Museum's New Streaming Service COLLECTION:live

Jody Watley

Jody Watley in 2019

Photo: Scott Legato/Getty Images

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GRAMMY Career Day To Feature Jody Watley & More grammy-museums-latest-virtual-grammy-career-day-feature-cheryl-cobb-jody-watley-david

GRAMMY Museum's Latest Virtual GRAMMY Career Day To Feature Cheryl Cobb, Jody Watley & David Sears

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Students from three high schools—Northeast High School in Kansas City, Mo., Parkrose High School in Portland, Ore. and Shadow Mountain High School in Phoenix, Ariz.—will participate
Ana Monroy Yglesias
GRAMMYs
Nov 18, 2020 - 2:04 pm

On Wednesday, Dec. 2, the GRAMMY Museum, in partnership with the Ford Motor Company Fund, will continue its virtual GRAMMY Career Day music industry mentorship series for students. The online day of mentorship and career advice will feature GRAMMY-winning music and style icon Jody Watley, President of Cheryl Cobb Entertainment Cheryl Cobb and the GRAMMY Museum's own David R. Sears, Vice President of Education for GRAMMY In The Schools.

Students from three high schools—Northeast High School in Kansas City, Mo., Parkrose High School in Portland, Ore. and Shadow Mountain High School in Phoenix, Ariz.—will participate in the event.

Related: Take A Look Inside The Latin GRAMMYs Digital Exhibit At The GRAMMY Museum

According to the GRAMMY Museum, the programming "provides insight to high school students about careers that are available to them in the music industry, and direction on how to prepare for them. GRAMMY Career Day provides an opportunity for students to interact with professionals representing a wide range of careers. Speakers for Career Day include GRAMMY winners and nominees, and professionals in related disciplines. These interactive sessions take students through the inner workings of the industry to learn exactly what it takes to make it in the business."

The upcoming session follows eight other star-studded, regional Career Day events hosted this fall. The events are typically held in person across the country, but have gone virtual for the first time this year. More virtual Career Day events will take place in spring 2021, thanks to the continued support of the Ford Motor Company Fund.

For more information on the GRAMMY Museum's extensive music and career education programs as well as current virtual programming, please visit grammymuseum.org.

2021 Music Educator Award Semifinalists Announced By The Recording Academy & GRAMMY Museum

Jimi Hendrix

Jimi Hendrix

Photo: Daniel Teheney/Authentic Hendrix LLC

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John McDermott Talks New Jimi Hendrix Documentary john-mcdermott-interview-jimi-hendrix-documentary-music-money-madness

Director John McDermott Talks New Jimi Hendrix Documentary, 'Music, Money, Madness … Jimi Hendrix in Maui'

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Ahead of an exclusive premiere of the film this week, presented as part of the GRAMMY Museum's COLLECTION:live programming, GRAMMY.com caught up with McDermott to discuss how the documentary continues Hendrix's lasting legacy
David McPherson
GRAMMYs
Nov 16, 2020 - 5:45 pm

Jimi Hendrix accomplished more in five years than most artists achieve in a lifetime. Songs like "Hey Joe," "Purple Haze" and "Voodoo Child" are classic rock staples. His innovation on the electric guitar influenced generations. He's responsible for seminal moments now emblazoned in the annals of rock: the time he set his axe ablaze at the Monterey Pop Festival or the time he played an instrumental version of "The Star-Spangled Banner" on a Sunday morning coming down at Woodstock. In the late 1960s, Hendrix was also the pensive leader of America's counterculture movement. 

The Seattle-born musician left us far too soon. On Sept. 18, 1970, the 27-year-old died at the bohemian Samarkand Hotel in Notting Hill, England. The cause: asphyxia while intoxicated with barbiturates. Fortunately for fans, old and new, Hendrix left a cache of unreleased music. Now, thanks to archivist John McDermott and the Experience Hendrix family-run company, his lost music allows us to discover another untold chapter in the life of this mercurial musician. 

The new narrative: the backstory on the making of Rainbow Bridge, a bizarre and controversial independent movie released in 1971. Directed by Warhol acolyte Chuck Wein, the project was financed by a $500,000 advance from Reprise Records, with the promise of a Hendrix soundtrack. 

In his new documentary, Music, Money, Madness … Jimi Hendrix in Maui, McDermott attempts to set the record straight about this boondoggle. The feature-length film, which drops Nov. 20, includes never-before-released original footage and new interviews with those who were there. (Live In Maui, a two-CD/three-LP package that includes the free Maui concert at the foot of the Haleakalā volcano on July 30, 1970, in its entirety, arrives the same day.) 

On Wednesday (Nov. 18), the GRAMMY Museum will host an exclusive premiere of Music, Money, Madness as part of its COLLECTION:live programming. The event will also include a live panel discussion featuring some of Hendrix's closest family members and associates, including younger sister Janie Hendrix, former bassist Billy Cox, engineer Eddie Kramer and McDermott.

Ahead of the premiere, GRAMMY.com caught up with director John McDermott to discuss his personal Hendrix history, his insights on Music, Money, Madness … Jimi Hendrix in Maui, and why, 50 years on, the groundbreaking electric guitarist's music still resonates.

Before we talk about the documentary, I'm curious how you landed this dream job as "keeper of the Hendrix vault" in the first place.

In the late 1980s, I was working as a writer, producer and a director on various music projects. I was always fascinated by the Hendrix story. I had previously written about him for a major music magazine, and that opened up a friendship with Hendrix engineer Eddie Kramer. From there, we worked on a book together, Hendrix: Setting The Record Straight, which came out in 1992. It was not a traditional biography. We presented Jimi through the eyes of those closest to him. 

The idea of a tribute album came next [Stone Free: A Tribute to Jimi Hendrix]. Released in 1993, the record featured artists like Seal, Buddy Guy and Eric Clapton. Some proceeds went to a United Negro College Fund scholarship fund created in Jimi's name. 

Shortly after, Eddie heard Jimi's father [James Al Hendrix] was involved in litigation over the ownership of his son's legacy, including the rights to Jimi's music, name and likeness. The Hendrix family asked me to help. Eventually, Al was victorious and all rights were returned to the Hendrix estate. That's when Al asked me to manage Jimi's music catalog. It's hard to believe that was 25 years ago. Since our first archival releases of unreleased Hendrix music in 1997, our mission has remained the same: keep Jimi in front of as many fans as possible. As a fan myself, I only came to truly appreciate Hendrix after his death … I never saw him live. For me, he was always this extraordinary artist with a fascinating story.

Speaking of fascinating stories, Music, Money, Madness … Jimi Hendrix in Maui certainly fits the bill. It's a captivating tale of a strange yet seminal time for the Jimi Hendrix Experience.
What makes this show so fascinating is its uniqueness. Three weeks before he was playing to 500,000 [people] at the second Atlanta International Pop Festival. Then, he arrives on Maui to play for 700 people seated by astrological order at the side of a volcano … that was something only Jimi could do.

Why did you decide to tell the story of the making of Rainbow Bridge and the Jimi Hendrix Experience's Maui sojourn in the summer of 1970?

We've told the arc of Jimi's story before: from birth to death in Jimi Hendrix: Voodoo Child [2010]. In other archival releases, we've examined temporal moments such as the Monterey Pop Festival and Woodstock. 

The Maui performance is always one fans request the most. With this film, we wanted to drill down and recalibrate what this whole thing represented. If we were going to do it, we wanted to do it in a way that provided the context for this story and share all of what exists of film—using the complete concert performance at Haleakalā to tell the real story. Rainbow Bridge was clearly not a Jimi Hendrix project, but it only could have taken the form it did with him dying. Had he lived, it never would have taken this form. Maybe it might have been just an instrumental score for a surfing documentary … no one really knows. 

Since Jimi died in September, less than two months following these concerts, the Rainbow Bridge movie and accompanying soundtrack played a larger role in Jimi's initial posthumous legacy. With this movie, we want to reframe that story.

How did you reframe the story to specifically focus more on Jimi's story and the free Haleakalā concert? 

First, we recovered original footage from Jimi's time in Maui. This documentary was more about extracting that new footage and providing fresh context. In Rainbow Bridge, there [were] only 17 minutes of performance footage that was haphazardly put in the movie. Mitch [Mitchell] had to overdub his drums at Electric Lady Studios just to save the audio. 

Read: Jimi Hendrix's 'Electric Ladyland' Turns 50

At the same time, you wanted to present an objective story, correct? How did you achieve this balance?
Definitely. You get the Hendrix side of the story listening to new interviews with surviving bandmates Mitchell and Billy Cox; Warner Bros. record executives; his engineer, Eddie Kramer; and others close to Jimi. We chatted with some of the original participants in the movie and included interview clips with [Rainbow Bridge director] Chuck Wein to tell their side. 

Fans need to understand how this chapter in Hendrix's career became blown up because of his death. To hear his bandmates talk about that time in Maui … that fascination that attracted me decades ago happens anew for kids around the world who appreciate the phenomena that was Jimi Hendrix. Take the Beatles film Eight Days A Week. Those who lived through that understand about the girls screaming at their shows—the tsunami and energy about the creation of that music—but that movie showed a new generation of global audiences what The Beatles really meant. In the same way, you can't fathom how amazing Jimi was until you see, hear and learn more about him. 

Why now? Did you plan the film's release to coincide with the 50th anniversary of Hendrix's death?

Not at all. Restoring the footage and the original audio took time. This is a project we had on the broiler for quite a while. We wanted to take time to get it right and speak to the right people. There is a temptation sometimes to get the easiest folks to speak, but often these people don't shed the greatest light on a subject. Originally, we had hoped to screen it at the Maui Film Festival this past June, but because of the pandemic, that didn't happen.

Why, a half-century since the electric guitar innovator and Recording Academy Lifetime Achievement Award recipient died, is the Hendrix legacy still important to preserve?
First, Jimi alone keeps his legacy alive. He is the guy who does the heavy lifting. Why is his legacy still so important? Compare it to what people would give to hear just one more wire recording from Robert Johnson. Because Jimi died so young, he left so many questions unanswered. Every one of these projects we release is another clue to that puzzle, from both a sonic and a visual perspective. Hendrix's appeal [resonates] with young people and remains with original fans. They, along with a growing global audience, see him as an ongoing touchstone: No matter the country where they are from, their gender, their race or their age … something about Jimi cuts right through.

'Band Of Gypsys': 5 Facts About Jimi Hendrix's Final Living Release | GRAMMY Hall Of Fame

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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy.